Stars Daniel Brühl, Chris Hemsworth, Olivia Wilde, Alexadra Maria Lara, Pierfrancesco Favino, Stephen Mangan, Christian McKay Directed by Ron Howard On the surface, this might be just another racing film. One that takes place in the 1970s, no less. But that's just the framework. The movie deals with the rivalry of two racers, neither of them being hero nor villain, except to each other. A majority of the story takes place between 1970 to 1976, starting with the chance encounter between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl) on a Formula 3 race track. From this first meeting, we can see their conflicting personalities. Even as the movie progresses, we see and learn about their character on and off the track. Hunt is very much the superstar showman (think Tom Cruise in Days Of Thunder) chasing the glory and the life, while the more mechanically minded Lauda is far more serious about how he lives his life, being the utter opposite of Hunt. Their contrasts are exemplified, although while Hunt can be a brash womaniser who seems to enjoy risks on and off the track, there are moments of the human within. And while Lauda often plays it safe, taking calculated risks and shuns the wild life, we also do see that he can cut loose and has a little of the rebel within. While the focus is on these two men, the women in their lives to get short-changed. Olivia Wilde as Suzy Miller (Hunt's wife), flits through her scenes that I could barely recognise her. Alexandra Maria Lara as Marlene has more significance as Lauda's wife. Director Ron Howard has a return to solid form (after The Dilemma) not just capturing the 70s era, but having the movie look like it came from that era. He also draws remarkable performances from his two main stars, with Brühl excelling in his portrayal and narration, while Hemsworth shows that he is capable beyond the genre films he's recognised for so far. Howard's technical skill (as seen in Apollo 13) with the action scenes get a real workout throughout the second half as we observe the 1976 Formula One season, practically racing through the various Races in several countries as Hunt and Lauda compete for points; Lauda to defend the World TItle and Hunt chasing to claim it. A real raw energy drives these scenes, underscored with the excellent music of Hans Zimmer, who revisits some of his electric guitar riffs from Days of Thunder. With a solid pace, excellent performances, thundering action with in-your-face racing scenes and stunts, technical expertise on show from the cinematography and designs to the costumes and make-up (for comparison, we do get some photos at the end of the original Lauda and Hunt), Rush is one of those films that grabs your attention and holds on well.
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Stars Vin Diesel, Katee Sackhoff, Jordi Molla, Matt Nable, Dave Bautista, Bokeem Woodbine and Karl Urban Directed by David Twohy Yeah, this is fairly late since the movie's been in the cinema for a couple of weeks now, but really, what can I say? I have quite a few thoughts about this movie. The approach to the movie and mythology itself was an issue, as is the schizophrenic nature of the storytelling. For me, it felt like three movies in one. In any case, I've got my thoughts down and did a whole piece on it... and since it wasn't just an average review - and yet, not a full blown analysis either - it's up over on Berning Along. Just follow the link and just maybe you'll go back for a second helping of Riddick. Stars Denzel Washington, Mark Wahlberg, Paula Patton with Bill Paxton, Robert John Burke, James Marsden, Edward James Olmos and Fred Ward Directed by Baltasar Kormákur As the film kicks off, we learn very quickly that Denzel Washington is a DEA agent, Bobby Trench, trying to bust a drug lord, Papi (Edward James Olmos) with the aid of a lowlife he picked up, Stig (Mark Wahlberg). When a sting goes wrong, Stig suggests robbing a bank where Papi keeps his money. Trench reports to a confidante to set Stig up to take the fall for the robbery… but that doesn't happen. They end up robbing the bank and getting away with much more than they bargain for. At about this time, we learn that Stig is Michael Stigman, a Naval Intelligence agent who then gets double-crossed by his superior officer (James Marsden)… and a whole other mess involving the money from the bank comes up. For a long while after, we're pretty much in the dark as much as Stig and Trench as they are forced to team up and find out just what's up with this money that neither of them have. What keeps the movie rolling along is the chemistry between Washington and Wahlberg, who are clearly enjoying themselves and having a blast with their characters. Even most of the supporting cast appear to give their all, particularly James Marsden and Bill Paxton. While they might make the movie feel like a romp, the labyrinthine plot and the story itself don't make things enjoyably easy, often miring the first half in confusing double-play and backstabbing, and the second half being an almost typical action film, replete with huge explosions. There's nothing profound for the cineaste but the average film-goer would have a fairly enjoyable time with this action film that's been adapted from a comic book. Not your average comic book from either DC Comics or Marvel, but from Boom!Studios. Original writer, Steven Grant, is fairly well known for his stint on The Punisher under Marvel Comics, so the plot and action is expected. As is the testosterone loaded shenanigans, which does leave Paula Patton seemingly sidelined throughout the movie. You'd be hard-press to find any other significant female character within the story itself. Director Baltasar Kormákur (reteaming with his Contraband star, Mark Wahlberg) handles the action well, keeps the pacing taut and leaves it to the actors to deliver their performances. He definitely knows his stuff and offers up exactly what you'd expect. An enjoyable action film that maybe tries a little to be smart and not too mindless. Nothing more and nothing less. Stars Robert DeNiro, Michelle Pfeiffer, Dianna Argon, John D'Leo, Jimmy Palumbo, Paul Borghese, Anthony Desio, Stan Carp, Vincent Pastore and Tommy Lee Jones Directed by Luc Besson If it were anyone from his stable of directors, Malavita wouldn't be any different from the rest of the EuropaCorp / Canal+ / Digital Factory output (see From Paris WIth Love, Taken, Colombiana, The Transporter trilogy, Lockout for the more common English output). Thing is, this movie was directed by Luc Besson himself, and it seems lacking compared to anything else he's done before. The story is simple enough. A mob hitman and his family are under the Witness Protection Program, and as the movie starts, they're moving into their new home hidden away somewhere in France. It isn't long before we learn that this family can not settle into a normal quiet life, and it might be something of a series of hilarious escapades. A decade ago, perhaps. Well, some of those moments might tickle someone's funny bone and I did have a chuckle or two throughout the movie… especially so when we hit that meta-moment where Robert DeNiro's ex-hitman gets roped in to have a debate over a movie. The movie in question? Goodfellas! Which is roughly the translation of the movie's title. Even with the presence of DeNiro and Michelle Pfeiffer, the movie does seem to struggle with its story for a while. Most of the entertaining moments come more from the kids John DeLeo and, more specifically, Dianna Argon, who comes across as a typical Besson heroine. Feminine and demure at times, tough when she needs to be like many who came before- Natalie Portman in Leon; Milla Jovovich in The Fifth Element; Anne Parilaud in La Femme Nikita; Louise Bourgoin in Les Aventures Extraordinaires d'Adèle Blanc-Sec. Besson's direction seems lazy at times and there are almost zero stylised flourishes that one would usually find in his typical movie. Even if we go back to his early movies like Subway or Nikita. The only thing that might seem like a typical Besson move is how the events build up to an almost expectedly explosive climax, but the action itself falls a little limp. Any other director and just maybe it wouldn't have been any worse that the usual action movie that Besson has written and produced, but with Besson at the helm, it should and could have been better. It does leave us wanting more given the caliber of the talent involved. Otherwise, it's just average. Stars Liam Hemsworth, Amber Heard, Lucas Till, Embeth Davidtz, Julian McMahon, Josh Holloway with Richard Dreyfuss Gary Oldman and Harrison Ford Directed by Robert Luketic When a movie is titled Paranoia, you might expect some kind of conspiracy movie with a purveying sense of paranoia lifting through the scenes. Those little glances from strangers, the camera lingering a little longer than expected on some extra passing by, and your main character definitely caught up in something he or she isn't fully clued in on. I always liked how Paul Verhoeven played up the paranoia angle in Total Recall (1990), or what Francis Ford Coppola did in The Conversation (1974). The problem here is that the movie title spells it out, and the main character, Adam Cassidy (Liam Hemsworth) is supposed to be smart, and yet not quite the brightest bulb in the room. On the outset, we're already clued in that the people pushing Adam's buttons are supposedly in control of the entire situation. The overall plot is a cat and mouse game between the two heavyweight performers, Gary Oldman as Nicolas Wyatt and Harrison Ford as Jock Goddard, Wyatt's former mentor and now main business competitor. It boils down to plain corporate espionage with Adam being the unwitting pawn in their game. Speaking of games, chess figures quite heavily in some scenes. But the paranoia itself never really sets in, not within the movie and not really for the Adam. So what we're left with is, at best, a decent old-fashioned thriller that betrays its bookish origins. The pulse of the movie blips along, getting the boost when either Oldman or Ford are on screen. The energy crackles even more when the two of them share the scene in two standout moments. Two moments that would give the movie a reason to be on the big screen, but little else to elevate it above the typical cable movie. Hemsworth carries most of the movie himself, but can barely sustain the charisma required. The rest of the young cast manage well enough and director Robert Luketic (21, The Ugly Truth, Killers) handles the material with workmanlike skill. Ultimately, it is a movie that you might watch if you came across it on cable, and aside from Oldman and Ford, there is little else to help keep it in mind. |
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